Tag: Forest Whitaker

Directed by Denis Villeneuve (the chap who helmed “Prisoners” and “Sicario“) with a screenplay by Eric Heisserer – based on the Ted Chiang short story “Story of Your Life – Arrival is a slow, moving and methodical delivery of almost unconsciously epic proportions. It features the ever watchable Amy Adams meeting some “hectapods” and Jeremy Renner in a different mode than his usual heroic onscreen presentation.

Some critics have commented on the uniqueness of the aliens in the just under two hour film and stated that they are unlike other alien depictions in the past.

Oh, contraire, ‘mes amies.’

Monsters, the 2010 guerrilla-made-on-a-budget film featured multi-limbed creatures that were huge and looked not too dissimilar from these aliens. “Battle for Los Angeles” also had multi-legged, or armed (it was hard to tell) aliens who took on a squad of Marines and one Air Force Technical Sergeant.

Leaving aside the small duplicity issue of this film’s version of little green “men” Arrival manages to hit a lot of notes in the time given. It stresses the need for communication above all else and throws a game changer into the mix with a time conundrum of sorts.

The film starts with what we assume to be memories (although in essence they really are just “future” remembrances) of a daughter who dies an early death and the mourning of the parent left behind. It then moves into the day of linguistic professor Jesse Banks (Adams) going to work and finding her class decimated.

Turning on the news, we learn that 12 alien spacecraft, looking like ovoid versions of Kubrick’s obelisk from “2001: A Space Odyssey,” have arrived, hovering above the earth in odd locations across the globe. In short order, Banks is approached by Colonel Weber (Forest Whitaker) who wants her to translate the newcomers version of language and she is joined by Ian Donnelly (Renner); a scientist.

The build up to the underplayed epilogue of the film is slowly paced. This gives us an idea of how long it would take to learn an alien communicative system as well as giving us a reason why the creatures write in a circular manner.

Non-linear time-lines are the basis for the language and the gift that the visitors mean to bestow on a hostile planet. It is the crux of the plot and the thing that drives Banks throughout the film. Somewhat amazingly, for what is in essence, a science fiction “creature feature” Arrival is a bit of a “tear jerker.”

This is only accomplished by a subtle delivery of moments of truth along the film’s own timeline. Renner’s character’s clear excitement and delight at the prospect of entering the alien spacecraft. Adams’ tough fragility and the emotions that she displays while “remembering” her dead daughter are just part of the mixture that really sells the film and its off-center plot twist.

Even the moment where Abbott, or Costello, tap the glass with one hectapodal limb (a clear gesture meaning, “it’s behind you” toward the end of the film) feels true and rational. After all, in terms of non-verbal communication, it makes sense that even aliens could point at something and it would mean the same thing in any world: “Look at that.”

The ending is sad, yet defining, and perhaps only Adams could have pulled this one off so perfectly. Renner makes the perfect partner for the actress in this scenario and he plays the enthusiastic scientist to perfection. At no time do we confuse Ian with that arrow slinging Marvel hero that the actor is so associated with.

Villeneuve has managed to put together a tale that relies on memory of things to come with a major plot device of “seeing” things in the future at the “right time” to affect the present. The editing and the pacing of the film makes everything come together beautifully at the end.

Arrival conveys the strictness of a military response to an alien visit adroitly. The humorless approach, by personnel used to dealing with threats, mixed with the more aesthetic players on the team works well and also has that ring of truth to it.

Somewhat surprisingly, Arrival only garnered one Oscar (for Best Achievement in Sound Editing) as it is a full 5 star film. It never really misses a beat and hits all the right notes throughout. It is available to watch via streaming online or on DVD.

Catch this one if you can and have a box of tissues handy just in case. Check out the trailer below:

Despite the poor reviews that this film has garnered, I could not wait to see it. I wanted to see it in the cinema, but due to low viewing figures, by the time I could see it, it’s run in the theatres had finished.

This film felt like a reworking of two “classic” westerns. High Noon and Rio Bravo. Borrowing from the High Noon script of the bad guys (or guy) who are coming in on the train (or via the road in a super duper corvette) and I/we need to stop him works well for the continuation of the story. Then it borrows from the Rio Bravo bit of the sheriff trying to get himself sorted out to defeat the baddies and having the help of his deputies, new and old and a bit of help from at least three citizens from the town.

But maybe I am wrong about my allegations of film similarities, but, it certainly felt that those touches were in there, albeit much more modern that the settings of the previous films. There were no horses, jangling spurs or Duke Wayne or even Gary Cooper. Ahnold will never be mistaken for either of these two cinematic western heroes, he doesn’t even wear a stetson, but he does a pretty good job.

Kim Jee-Woon does a brilliant job on his first US feature. He shows that the brilliance that he’s shown in his South Korean films aren’t just something he is capable of in his native country. This man is talented and gifted no matter where he directs.

I’ve guessed that part of the “mixed” reviews this film got was more because Arnold Schwarzenegger was the lead (and maybe Johnny Knoxville had a part to play in the negative viewpoints as well) more than anything else. I think that no matter what film that Arnie had chosen would have gotten him mixed reviews.

Jee-Woon has shown that he can direct films written by folks than himself and he’s done well with this modern day western.

The film has a good cast, despite the fact that Ahnold is making his “comeback” in the film, it has enough other talent to take that sting in the tail out. I will hold my hand up and admit that I still like the ex “Governator’s” films. I like him less as a person since reading his autobiography (which I talked about in an earlier post) but I do still like him on the big (or in this case, smaller) screen.

But back to the cast.

How can you not like Peter Stormare as the big bad guy’s number one “bad-guy” helper; Jaimie Alexander as one of the deputies; Forest Whitaker as the head FBI guy; and the legend that is Harry Dean Stanton as the grumpy, and possibly homicidal, farmer in a brilliant cameo. (A cameo that is miles too short)

The plot, despite the holes that do occasionally make an appearance, is pretty straightforward. Ex cop from the big bad city of Los Angeles has set himself up as the sheriff of a small one horse town near the Mexican/Arizona border. Drug cartel super villain escapes from FBI custody and heads straight for the border. The villain blows any opposition away by using a lot of muscle hired by a lot of drug money.

The villain is making a bee-line for the small town and its tiny police force.

I’m not going to make a lot of observations about the holes, existent or not, or about whether this whole thing is unrealistic or not. If you want realism in your cops and robbers stories watch the nightly news, not a movie. If you cannot take off your disbelief hat at the door, why the hell do you watch movies anyway?

The biggest obstacle you have to get over is why would the citizens of this small, pokey, out in the middle of nowhere town hire a sheriff whose command of the English language keeps him from using the correct syntax when he speaks. Once you get past that one, the rest is easy.

As a debut film for the genius that is Kim Jee-Woon it’s good. He’s proven that he can deliver an entertaining AmericanHollywood film. One that has humour, pathos, a smidgen of death, shoot-outs, and car chases. The body count isn’t that high (under…say…20?) and only the fact that this was Schwarzenegger’s come-back vehicle kept it from doing better in the cinemas; in my honest opinion.

This is a cracking film. I enjoyed the hell out of it and I’ve watched it about three times since it came in the post today. My mood is quite up in the area of films at the moment with two western films in my collection of such recent vintage, (In case you’ve forgotten the other western is Django Unchained – see previous post.) it gives me hope that the genre might be making a comeback.

I was very saddened to read this little bit of information on the net. Still, one can perhaps hope that he is premature in his assertion that he is retiring from acting.

The man who shot to international stardom in Lawrence of Arabia is the same man who, after battling illnesses that would have brought most of us to our collective knees, did two films back to back while still recovering, The Stuntman and My Favorite Year, oh and taking time out to do a mini-series in between.

And just when I thought that Peter would be relegated to those supporting smaller roles that is the perpetual home of older stars, he did Venus. Venus, a complete British Comedy/Drama was filled with ‘old’ thespians and it was a brilliant film. It gave Mr O’Toole his eighth Academy Award nomination (he lost to Forest Whitaker) making this his eighth nomination with no win.

He has been awarded the ‘life-time’ achievement award, which he initially declined until his children told him off for it. I can only think that the ‘hallowed’ Academy thought that Peter was going to die, that is generally when they finally unbend enough to award someone who has been overlooked for years.

That O’Toole is beyond talented is obvious. The strength of his performances are astonishing. He has never, to my knowledge, given a lacklustre performance. When I think of his voice, that wonderfully mellifluous voice that I would kill to have, I get goose bumps. His voice and his way of speaking his lines has developed into a sort of musical cadence as he aged. It is almost like a signature, one that allows you to immediately know without looking that it is O’Toole.

The first thing I saw him in was not Lawrence of Arabia. I first saw him in The Lion in Winter. He and the powerful Katharine Hepburn striking sparks off each other. I then saw him in Beckett with Richard Burton. Brilliance. I did not watch Lawrence of Arabia until late one night on television. *On a side note, I read once that Peter had been hired on the strength of a stage performance he had been seen in by the producers, in the interim between being hired and turning up for costume fittings, they were horrified to see he’d had a nose job.*

Cover of My Favorite Year

But I did not fall in love with Peter O’Toole as an actor until I saw him in a small comedy directed by Richard Benjamin, My Favorite Year. Playing an ageing movie star who agrees to do a mainstream comedy variety show to pay his tax bill. The star is a raging alcoholic and does not realize that the show will be broadcast live. The pathos. comedy, sadness and courage that O’Toole gave his character made this film an unforgettable experience and shot the film to the lead of my favourites. Based on real events (I think the star in question was Errol Flynn and the show was Sid Caesar‘s) the ending never fails to give me a lump in my throat.

Peter O’Toole has suffered illness and a battle with the bottle his entire career. The effects of both these have left him lean and aged, like a worn out whippet, but the power is still there. The ability to rise above his age and illness and still give the kind of performance that shines. Watch Venus, at 73 he still has the ability to tug the heartstrings and make us chuckle, almost at the same time.

So Peter O’Toole has finally had enough. The acting world should put on black armbands and fly their flags at half-mast.

He may be “down but not out” but let’s just hope that maybe he can be enticed to act again for the right role. I would still like to see him earn his Oscar properly, as I am sure he would, and not just have the conciliatory one the Academy farmed out to him.